- Violin Concerto in E Minor - Piano Score - Piano Score scored for Violin/Piano
- Felix Mendelssohn
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- Deep Listen: Mendelssohn Violin Concerto in E minor
Violin Concerto in E Minor - Piano Score - Piano Score scored for Violin/Piano
Bloch Violin Concerto sheet music reduction for violin and piano. Make offer - Bloch Violin Concerto sheet music reduction for violin and piano. Shop now. Shop by category. Format see all. Sheet Music. Study Score.
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- Violin Concerto in E Minor - Piano Score - Piano Score Sheet Music by Felix Mendelssohn.
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Genre see all. Classical Filter Applied. Instrument see all. Violin Filter Applied. Condition see all. A typical performance lasts just under half an hour. Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in , the work took another six years to complete and was not premiered until During this time, Mendelssohn maintained a regular correspondence with David, seeking his advice with the concerto.
The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers.
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Although the concerto consists of three movements in a standard fast—slow—fast structure and each movement follows a traditional form, the concerto was innovative and included many novel features for its time. The concerto was well received and soon became regarded as one of the greatest violin concertos of all time.
The concerto remains popular to this day and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. Many professional violinists have recorded the concerto and the work is regularly performed in concerts and classical music competitions. Mendelssohn also wrote a virtuoso Concerto for Violin and String Orchestra in D minor between and , when he was 12 to 14 years old, at the same time that he produced his twelve string symphonies.
One in E minor runs through my head, the beginning of which gives me no peace.
The concerto took another six years to complete. Indeed, this violin concerto was the first of many to have been composed with the input of a professional violinist, and would influence many future collaborations. The autographed score is dated 16 September , but Mendelssohn was still seeking advice from David until its premiere. The concerto was first performed in Leipzig on 13 March with Ferdinand David as soloist. Mendelssohn was unable to conduct due to illness and the premiere was conducted by the Danish composer Niels Gade.
Mendelssohn first conducted the concerto on 23 October again with Ferdinand David as soloist. The work is scored for solo violin and a standard classical orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
Deep Listen: Mendelssohn Violin Concerto in E minor
Instead of an orchestral tutti, the concerto opens with the almost immediate entry of the solo violin, playing the very tune in E minor that gave Mendelssohn no peace. Following a bravura of rapidly ascending notes, the opening theme is then restated by the orchestra. The melody is initially played by the woodwinds with the soloist providing a pedal note on an open G string. The tune is played by the solo violin itself before a short codetta ends the exposition section of the opening movement.
The opening two themes are then combined in the development section, where the music builds up to the innovative cadenza, which Mendelssohn wrote out in full rather than allowing the soloist to improvise. This serves as a link to the recapitulation, where the opening melody is played by the orchestra, accompanied by the continuing ricochet arpeggios by the soloist. During the recapitulation, the opening themes are repeated with the second theme being played in the E major before returning to E minor for the closing of the movement.
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The bassoon sustains its B from the final chord of the first movement before moving up a semitone to middle C. Concertos usually begin with the whole orchestra playing the principal themes before they are restated by the soloist. But as the audience at the premiere of Mendelssohn's Violin Concerto sunk into their seats to let the orchestra wash over them, they might have been surprised to hear the soloist enter almost immediately with the concerto's first high, mournful theme.
After an even more impressive show of violin acrobatics, the tranquil second theme arrives in the clarinets bar , But where is the solo violin?
It holds back, accompanying the clarinets with a single long, low note. The "staircase" theme returns, heralding the beginning of the development section bar , Original cadenza from the autograph manuscript of Mendelssohn's Violin Concerto. Mendelssohn extended the cadenza in consultation with the violinist Ferdinand David before its premiere on 13 March, At the end of the development section, the orchestra unexpectedly leaves the violinist to play a solo cadenza , , which would have been a remarkable turn of events for a nineteenth-century audience.
The cadenza was a designated space for improvisation at the end of a movement, not in the middle. Furthermore, Mendelssohn composed his cadenza instead of letting the soloist improvise. The cadenza we hear today was not Mendelssohn's first crack at it. He extended the cadenza before its premiere in consultation with Ferdinand David, the virtuoso violinist for whom he wrote the concerto.
The cadenza begins with trills, arpeggios, and chords with the pensive gravity of a prelude by J. At the end of the cadenza the violinist plays ricochet bowing, letting the bow skip across the strings with just enough bite to pick out each note along the way bar , Like an old zoetrope animation of a horse, each note combines with the next to produce a fluid, flickering phrase.
The orchestra returns and the violin-horse gallops away over the hills of the first theme played by the flutes, oboes, and first violins. The return of the first theme in the orchestra signals the beginning of the recapitulation, where the principal themes are restated.